"Copland...has never turned out bad work nor worked without an inspiration. His stance is that not only of a professional but also of an artist - responsible, prepared, giving of his best. And if that best is also the best we have, there is every reason to be thankful for its straightforward employment of high gifts. Also, of course, for what is the result of exactly that, 'this simple and great man in our midst'."

- Virgil Thomson, AMERICAN MUSIC SINCE 1910

“To a great extent, Copland seems the product of two milieus: Paris and the United States. The States give him something not always at the front of his conscious mind – an imaginative landscape of expression, more than anything else. Along with George Gershwin, his music conveys the energy of New York and the visual power of skyscrapers (the folk-like Copland comes later). Paris gives him a Stravinskian orientation and technique, as well as an elegance of expression – the ability to say the most with the fewest notes. The same can also be said of his colleagues and fellow Boulangerian alumni Thomson and Piston, although each has his own musical identity.”

- Steve Schwartz, ClassicalNet.com

“With scores like APPALACHIAN SPRING, RODEO, LINCOLN PORTRAIT, and FANFARE FOR THE COMMON MAN now subsumed into the bedrock of the American consciousness, Copland’s iconic status as musical elder statesman is secure…. each new exposure to Copland’s music is a reminder of how direct, apt and powerful it remains.”

- Patrick Rucker, style@washpost.com

“It is difficult now to separate the voice and the woman from the almost marbleized monument that Anderson became long before she died in 1993….America’s traveling good will ambassador, a special United Nations delegate, the subject of numerous television documentaries, and a beloved icon.”